Performed with grace, dignity, and deep cultural symbolism, Tebe-Lilin is a traditional dance that brings together members of a community in shared celebration, remembrance, and expression. It is practiced in several regions of Timor-Leste and is especially known for its emphasis on unity and peaceful co-existence.\n\nThe word “tebe” refers to a communal line or circle dance, while “lilin” translates as candle or light. Together, the name evokes the image of people dancing around a source of light—both literal and symbolic—illuminating shared values such as harmony, hope, and continuity. Historically, dancers would carry actual candles or use candlenuts wrapped in cotton, creating a flickering trail of light as they moved through the night.\n\nTebe-Lilin* is performed by groups of men and women—young and old—who link arms or shoulders and form lines or circles. They move rhythmically in unison, stepping to the beat of babadok drums and chanting in call-and-response style. The songs are often poetic and metaphorical, expressing themes of love, sorrow, longing, and reconciliation. Each verse is rich with meaning, serving not just as entertainment but as oral literature passed from generation to generation.\n\nThe dance is deeply woven into ceremonial life. It features prominently during sau-batar (corn harvest celebrations), barlake (marriage exchanges), community healing rituals, and memorial events. In each setting, Tebe-Lilin helps strengthen the spiritual and emotional ties among participants. Its circular form is believed to create balance and connection, while the singing creates a space for open emotional expression—an opportunity to share joys and wounds alike.\n\nIn some versions of the dance, the use of light is entirely symbolic. The “candle” represents the enduring spirit of the ancestors, the resilience of the community, or the moral light that guides people through challenges. The act of dancing around it becomes a ritual of reaffirmation—a moment when the community collectively reflects on its path forward while honoring its roots.\n\nThough Tebe-Lilin remains alive in certain communities, it faces challenges. Younger generations are increasingly detached from these communal traditions, and the ritual contexts in which the dance once thrived are becoming less frequent. Elders and cultural leaders continue to play a vital role in teaching the songs, movements, and meanings behind the dance, often through village gatherings, church events, and cultural festivals.\n\nIn its form and spirit, Tebe-Lilin exemplifies intangible cultural heritage at its finest: it is an art form, a social practice, and a vehicle for transmitting identity. Every time the dance is performed, it brings light—not just to the night, but to the hearts and memories of those who dance and watch.

Chundu Soelchod is a native offering practiced by people of Haa and Paro. During the Soelkha, dances and Zhey are performed by the people of Yangthang Gewog with unique dress, lyric and steps. The male artists are locally called pazerpa or pazaap.\n\nIn the 8th century, Guru Rinpoche visited Bhutan thrice from Tibet and subdued the local deities and transformed them as protecting deity of dharma in every region. Chundue soelkha is mainly celebrated for thanking Ap Chundu (local deity of Haa) for helping people of Haa during the battle time. It was originated during the time of when Zhandrung Ngawang Namgyel had conflict with Tsang Desi of Tibet. During that time group of Tibetan (Boe ma) reached at Haa, Gyensa. It was said that during night, those Boe ma (Tibetan) who reached Gyensa had seen fire and noises in Jangkhakha (Ap Chundu ground). Due to the light and reflection from Jangkhakha those Tibetan couldn’t attract the enemies instead they fell down in the river below Gyensa. That group of Tibetan was defected and the battle was won by the Haaps. Therefore people of Haa started with Ap Chundu soelchod to remember and thank Ap Chundu for his superstitious power and supporting them to win the battle.\n\nPeople also say as Ap Chudu’s birthday. It is celebrated toward the end of the year that is ninth month of the Bhutanese’s calendar. Regarded as manifestation of the warmth Chagna Dorji, Ap Chundu is not just localized to Haa district but he is and important deity of the country itself.\n\nIn Bon-nag tradition (animal sacrifice is required to appease the deities. People use to sacrifice the yak during the festival until 2013. They did because they were feared so much that Ap Chundu will punish them with diseases and natural calamities if they missed it. How ever since killing is sinful act in Buddhism in the year 2013, Haaps local guardian deity has been appeased by scarifying a yak after consulting with the dzongkhag and gewog staff, and the family who carried out the tradition for years, the authorities decided to seek Ap Chundu’s permission to stop killing yaks to appease him. So they rolled the dice and according to the astrologer, got his affirmation.

The unbalanced geographical distribution of accredited NGOs was identified as one of the major concerns by the General Assembly, the Committee and the Secretariat when the reflection process on the advisory role of accredited NGOs started at 12.COM in 2017. One of the recent actions to address the challenge is an initiative towards the establishment of aworking group for the ICH NGO Forum dealing with regional imbalance of accredited ICH NGOs. The initiative came from our NGO, the Finnish Folk Music Institute, and was endorsed by the ICH NGO Forum Steering Committee. The working group will start discussions based on the possible measures received via the survey and work with the aim to overcome the ongoing imbalance.